ROGER DOYLE – BABEL (5 cd’s on Sido)
ERIC LA CASA – THE STONES OF THE THRESHOLD
JEAN-LUC GUIONNET – AXÈNE
VA – MICROWAVE A MANUAL (CD-R by Microwave Recordings)
MOTHBALLS VOLUME 2 (7″ by Mouthmoth)
MAEROR TRI – HYPNOTIKUM 2 (LP by Absurd)
PHONEM – HYDRO ELECTRIC (2×12″ by Morr Music)
HERRMANN & KLEINE – KICKBOARD GIRL (12″ by Morr Music)
ROGER DOYLE – BABEL (5 cd’s on Sido)
Everything about this project is BIG. It spans about 6.5 hours of music on
5 cd’s, it has taken 10 years to mature and its theme is the disparity of
the human race. Roger Doyle (formerly known in the underground electronic
scene with his releases as Operating Theatre) must be a brave man to embark
on a journey like this one. Knowing it will take a lot of work to express.
Well, what is it then, that Doyle wants to express? The title Babel
indicates something. The myth of Babel is the turning point in biblical
history when God decides to curse man with different languages (and
therefore cultures) so that people have trouble communicating. He tends to
do these things more often, so I understand…. Anyway, Doyle pictures the
world of Babel. The inhabitants of the tower of Babel are a mixed group and
so is the music on the cd’s. Naturally. There are loitering saxophones in
squads, there is temple music, there is distress and excitement (very nice
electroacoustics), there is melody, rhythm, dance music (hmm, sounds a bit
dusty already…). It is all mixed into an interesting blend. Doyle’s
electroacoustics tend towards the typical French/Canadian fashion. But
whereas the acousmatic composers keep focusing on the atmospheric area
Doyle’s pieces are more melodic and carry more musical gesture. His sounds
are not as polished as the products that are released in Canada and France.
There are pleasantly rough edges. It really is a journey, to listen to this
series. Doyle appears to be a cameleontic composer and so this theme of
Babel fits him very well. The listener dwells through Babel’s hallways,
stairwells, cubicles, etc. When you’re bored with what you hear, you just
move on. At least, I did so at certain points. I can’t stand loitering
saxophones. They depress me very much. Luckily there weren’t many of those.
Sometimes the music was too oppressive. (Well, if you’re not in the mood
right now, just come back later.) That really worked very well. The only
thing that did not work out very well is Babel radiostation called “KBBL”.
Aside from the rather cheesy station name I was not much impressed with the
programming. But that may be a sign that the composition “KBBL” lives up to
the image it wants to represent. On the other hand that too may just as
well be my concern with this piece; it imitates reality too closely.
Whereas the other compositions also carry metaphore, there it is much more
remote. “KBBL” is much more literal, old-fashioned radioplay (sic). The
radio part takes up two discs. Not all of it deserves a negative score,
(there are very interesting voice treatments that you want to hear again
and again) bu the overall picture and concept I find not very strong. So
what is the final judgement? Despite my criticism I definitely recommend
it. With a project like this you are bound to hear parts that you do not
like, but I think that the quality of the project as a whole stands. It
offers you a caleidoscope of modern electroacoustic composition, which in
itself may be enough recommendation. I also recommend contacting Roger
Doyle himself. He offers this box at a different price than the one in the
music shop. (IS)
http://www.cmc.ie Roger Doyle email: rogerd@eircom.net
ERIC LA CASA – THE STONES OF THE THRESHOLD
JEAN-LUC GUIONNET – AXÈNE
(Both CD’s by Groundfault)
La Casa’s latest on a the new (well, sort of) Groundfault label brings us
three tracks with a total duration of almost 72 minutes. The first track is
probably dedicated to the force of water. A sometimes loud and noisy piece,
celebrating the pink noise of water in different forms. The second track
starts more abstract, but it doesn’t take long for the rain to fall.
However, in this track there are more melodic sounds to be discovered, such
as bells and sretched out drones, not unlike cello’s or the overtone voices
of the far east. Actually, there is such a ‘far east’ feel to the first
part of the track, but not overdone in any way. After some time the focus
shifts to more concrete sounds again. Together with varied hissing this is
a pretty dense part, that gets noisier (but not louder) and then fades out.
An electronic glissando and metal parts bring it all back again, but with a
slightly different acoustic space, after which things get a little erratic
(but not really of course). Then things quiet down again and someone’s
rustling about with the bells from the beginning. And here again there is a
very subtle change of space, untill we are left with a very soft noise in
the background and distant metals becoming dark. The third track is the
longest (more than 30 min.) and it would go to far to describe in such
detail as the first two. But let it be said that this track has the same
subtle acoustic qualities as the former two. La Casa is one of those people
who knows how to work with sound(s) in such a way, that they seem to become
almost tangible, or at least visible. The only thing I sometimes miss are
sudden breaks or changes. But that’s always a personal thing.
Guionnet’s CD also clocks at almost 72 minutes and also has three tracks.
And that is basically where the similarities between these two release
stop. The first track was made for a film, and knowing me, you know that
mostly I find it difficult to miss out on the total work. However, in this
case I am not missing anything, so probably both of them together is too
much for me. Guionnet’s approach seems to focus more on the studio than on
field recording. Synthetic sounds are combined with concrete sounds into a
pretty fierce blend. There is certainly a strong tension in this track.
This blend is actually what makes the tension hold. The atmosphere is a bit
dark and gloomy, but not overwhelmingly so. The second track is of a
similar nature, but seems to be less concerned with things outside itself.
This is a more purely musicsl piece. I do have to say that the digital
glissando’s tend to get on my nerves after some time. They sound just a
little too familiar. Again a matter of personal taste probably. The third
track starts with strings being abused and consequently digitally reworked.
This leads to a texture of overtones and other sounds, woven together in a
delicate way until pink noise pushes them away. Then the strings come back
again and I start wondering if this is not one long improv session with a
huge load of FX and some string instrument. It does seem like it… (MR)
Adress: www.groundfault.net
VA – MICROWAVE A MANUAL (CD-R by Microwave Recordings)
The title of this new release on Microwave suggests that the tracks
presented here are models for (making) this kind of music. Or it’s a hoax
of course. The first track, which is simply called ‘A Jingle’ tends to make
me believe it’s the second choice. Very short and basically just electrical
circuitry gone unwired. but very nice. Second is Radboud Mens with a much
more serious approach: a well defined composition (I wonder if it
couldactually be played backwards and still sound the same…), but lacking
a little in excitement for me. Immedia are present with a track that is for
a very large part inaudible (even on headphones) except for an occasional
outburst. Reminded me of Richard Chartier. Petra Klusmeyer presents a work,
that doesn’t actually sound like a microwave piece, but more like serious
electronic composing. And good composing. New one is Monotonos from The
Netherlands, with a clear and sober track. Good introduction. Hem from the
UK is also new to me, with a track that rolls from right to left on the
speakers and has a somewhat sneaky atmosphere. Another new name is Freiband
with a sober, but very subtle track, a strong introduction as well. A
bigger name is Kim Cascone with a short, but fiercely electronic piece.
Another new name is Sony Mao, who’s doing a duet with R2D2. But luckily for
us, it’s not only funny: it’s good as well. And the list of new names (for
me) is longer. Tarlose present themselves (them, him, her, who knows?) with
probably the most minimal track as yet. Reminds me of Surge, but even more
minimal. And who’s next? Surge, but with a sound that goes more in the
direction of Chain Reaction than I would have thought possible.A nice
development, I think. That brings us to Brian Lavelle, who’s name again is
new for me. This track can almost be seen as a popsong, with an
introduction and the other ingredients to follow. Very nice indeed. Ha, I
know Massimo from a former Microwave release, but I would never have
guessed that the guy produces gabber as well. This one could even work on
the floor, except for that break in the middle of the piece, which makes it
a lot more interesting than your average gabber. I might become a fan of
Mr. Massimo. Cancerman (yep, don’t know him) presents a track with a pretty
dark and gloomy atmosphere and leaves everyone waiting for the real beat to
kick in. This expectation remains unfulfilled however, and so Cancerman
escapes obviousness. Arizona Running (new from Holland!) present a very
exciting track with a broad array of electronic sounds and a strong sense
of tension. Last track is by Immedia again and again this is a very low
volume piece, that is very present however. Good filtering. So, this CD can
be considered as a manual, but why? As a compilation of people working in
this ‘field’ of contemporary electronic music and introducing quite a lot
of new names, it seems to make more sense.(MR)
Adress: www.staalplaat.com
MOTHBALLS VOLUME 2 (7″ by Mouthmoth)
Another superlimited 7″ – again 100 copies – of ahum hohum electronic
popmusic. Four unknown bands present their songs. Frog Pocket in a slow
rhythm mode, with scratchy sampled vocal sample and background guitar, that
when you thought it ended, it starts again. Voltergeist take the average
time of a good punkrock track with the electronic intensity of gabber. The
flip has Parallel with a slow track aswell with big bass end bump and
reversed vocals (no satanic content however) which both are run through a
couple of plug ins on the lap-top, and gradually those microbes take over
before tuning back to vocals. Lips Vago (I am sorry I can’t say much on
the bands themselves!) play a bit more uptempo and much shorter than
Parallel on childlike keyboards. Apart from that short gabber like track,
which is more a practical joke then serious music, three very nice
electronic music pieces that fail to be in categories.
So very limited indeed, but also with a full colour, printed cover. (FdW)
Address: www.geocities.com/mouthmoth
MAEROR TRI – HYPNOTIKUM 2 (LP by Absurd)
Another set of final recordings, the finally final final recordings? I am
sure (in fact, I hope) that everything this band ever recorded will be
available as a CDR series one day – the library of subsconcious music. This
is the counterpart of Hypnotikum 1, an atmospheric record, released 2 years
ago (announced as ‘first final recordings) by Soleilmoon. The idea behind
these two records is very simple: these are treated loops that Maeror Tri
used in their live concerts in a small tour in 1996. Not ‘just’ the
background loops, but a rich, evocative world in itself. This counterpart
is meaner, louder and if you wih harsher then number one, and surprisingly
also more rhythmic. It shows us a side of Maeror Tri which we haven’t seen
before (or at least a majority of newcomers). Completed by a beautiful,
full colour cover, this is another must have for the collectors. (FdW)
Address: <mailorder@staalplaat.com>
PHONEM – HYDRO ELECTRIC (2×12″ by Morr Music)
HERRMANN & KLEINE – KICKBOARD GIRL (12″ by Morr Music)
Two new releases on the sympathetic Morr Music label. Phonem’s second
release on Morr starts out with a very dirty computer sound, but gradually
taken over by a string of synths and Autechre’s trademark of beats. The
synth lines sound very eighties, but the computerized beats are definetly
2000-ish. ‘Currents’ dwells more on rhythm and bass and a simply tinkle on
the keyboard.
The b-side has the long title track which grows and grows in hectic. Beats
roll over eachother and the whole thing shifts back and forth between
rhythms, bass and far away synth lines.
The c-side opens with ‘Information Technology’ and is as much chaos as the
current stock exchange market for IT biz. Hectic but full of swing (and,
more then buying shares, a winner). The other track on this side is a bit
of a miss: ‘Isodensity’ drags on a bit too much and doesn’t start life a
life of it’s own.
The d-side then has the beautiful laid-back ‘Machine Code’, a both nice and
nasty piece. ‘Warm Rays’ closes the record. For those not aware Phonem
belongs to the best groups, right next to Autechre and Funkstorung.
Thaddi Herrmann runs his own City Center Offices label and was once the
Sonic Subjunkies. Christian Kleine is an artist in his own right, aswell as
a collaborator with Arovane. Herrmann + Kleine is neither digital hardcore,
nor Chain Reaction inspired music. The title track is a very uptempo, very
lushy keyboard line and just a very nice track and which gradually fades
over in ‘Kickboard Girl Take Care At The Corner’ with a slower rhythm and
key section. Much darker is the (breakbeat-) rhythmpart of ‘May In Fall’,
but the keyboard lines are ultra light.
‘My Friend Sam’ uses ultra reverbed beats and more cosmic synths; the
drenched out beats made me raise my eyebrow, but it’s a short track.
‘Sitting Next To You’ is a prizewinning track: lush melodies and a beat
that steadily grows – very nice, very long! The closing track is the most
subdued one that comes in thi six pack. Very simple and very effective.
With one short track that wasn’t altogether for me, a great record, so it’s
about time we get a full length CD by these boys. (FdW)
Address: morrmusic@01019freenet.de